Skyfall

It’s been a long four years for us Bond fans since 2008’s Quantum Of Solace. That film had mixed reviews and even now it’s difficult to give it a fair appraisal, especially since the information came out that the films script had been severely compromised by the 2007 Writers Guild strike. That aside, the main problem with that film was obvious from the second it was announced that Marc Forster was going to direct it. A talent he may be when it comes to dramas (Monster’s Ball, The Kite Runner), but the Swiss-German had never directed a high octane action scene in his life. So it was hardly surprising that the most negative comments regarding Solace were about said scenes, with them being so badly edited I’m still at a loss as to what long time Bond producers Barbara Broccoli and Michael G. Wilson saw on his CV to hand him such an important assignment. Still, it wasn’t a complete disaster and anyway, you can’t expect every Bond film to be a bona fide classic. Then things got a bit odder. Then downright depressing. Firstly, Sam Mendes was announced as the director of the next film. A huge talent no doubt, but an even higher eyebrow raising choice than Forster when it came to the marriage of subject matter with director. Then in April 2010, due to the financial difficulties at MGM, a press release came out saying that filming of the 23rd Bond film had been suspended indefinitely. Uh oh. However, the months and months have now passed and (a cameo appearance with The Queen aside) James Bond has finally re-emerged in Skyfall. First things first then: This is a great film. It still has its faults, but Mendes is an accomplished film maker so it’s no surprise it’s an above average addition to the Bond pantheon. It starts on a high note with the obligatory pre credits sequence. Mendes has said that 50% of the time and effort spent on the whole film was concentrated on the first 10 minutes alone. It has paid off handsomely though, as Bond (Daniel Craig) stars in a pulsating chase by car, by motorbike and, quite literally, on a train. Next up is Daniel Kleinman’s rapturous credits sequence, complimented by Adele’s theme song (making up for the somewhat limp Thomas Newman score that barely registers throughout the rest of the film). As to what actually happens plot wise I don’t want to give too much away, but this is a standalone tale and its main storyline actually revolves around M’s (Judi Dench) relationships with Bond and the villain of the piece Raoul Silva (Javier Bardem). To Mendes then. For the first hour everything about this film is beautiful. Mendes and cinematographer Roger Deakins are in their element with the framing, lighting and colours all coming together to give an assault on the eyes that is as subtle as it is stunning. A short fight scene involving Craig silhouetted against the bright lights of a skyscrapers advert is probably as highbrow as the franchise has ever been. In addition Stuart Baird returns as editor, doing just as great a job as he did for Casino Royale. One of the problems is that despite its beautiful visuals, Mendes scrimps on the action scenes and nothing comes remotely close to the white knuckle ride of that opening few minutes. Any further kinetic moments of magic are reduced to short bursts, as opposed to further edge of the seat set pieces. You can understand why Mendes has concentrated mainly on the characterisations (where his main strength is) during the film, but after proving he could handle the rough stuff at the beginning of the film it’s a surprise to see that there are no efforts to try and top it later on (see Martin Campbell’s Free Running versus Airport scenes in Royale to see how it’s done). On the acting front it’s all pretty good and I had forgotten that Mendes previously directed Craig in Road To Perdition and, in fact, there’s a reunion of a lot of the cast with Mendes and with each other (hats off to anyone who could remember it was Ben Whishaw (the new Q here) that blew Craig away at the end of Layer Cake). It’s Bardem that takes the acting plaudits and his appearance comes at just the right moment (as the film becomes dangerously close to becoming style over substance prior to his arrival). It’s an interesting take on a Bond villain as well as Silva is more of a hurt and confused individual as opposed to a megalomaniac or a psychopath. He’s still pretty mean though and Bardem gives him enough of a dangerous and uncaring edge that makes it believable that many are so afraid of him. As for Bond himself, Craig’s portrayal here is one of introspection as 007 is becoming somewhat world weary with the job with it taking its toll both physically and mentally. Granted, Craig’s Bond is the closest to the source material we’ve come yet, but with all the brooding looks going on it feels like Bond has lost some of his personality. This isn’t really a negative comment, more of an observation of where we are with Bond at the moment. In terms of actual duff moments, most of film’s one liners fall flat, a moment involving Q trying to break Silva’s computer encryption is all visuals and no substance and the scenes between Craig and Naomie Harris (as a field agent) lack chemistry and slow the whole thing down. Though there’s no point dissing the convenient coincidences that occur in the screenplay as this is a Bond film after all. There’s been talk of comparisons with Christopher Nolan in respect of the tone of this film and I think that’s a valid comparison (Mendes himself has mentioned it), though similarity’s with the Batman storylines are wide of the mark as frankly, which hero / superhero isn’t a tortured soul with a tragic family background? Bond films have always had a chameleonic element to them, usually segueing into what was / is the cinematic flavour at the time. Have we now lost track though of what a Bond film should actually constitute? Certain boxes will always need to be ticked to satisfy the fan base, but there’s nothing wrong with a director stamping his own signature on the film. However, for three films now we’ve had darkness and angst and whilst it has worked (and brings the films more in line with Ian Fleming’s vision of Bond), I think it’s time for Broccoli and Wilson to lighten the mood next time out. Perhaps another call to Campbell is in order? He seems to know what Bond is all about and can portray the harder tone of the times, whilst also injecting the fun and action which some may feel Skyfall lacks. In terms of Bonds next appearance, this has been pencilled in for 2014, but at least in the meantime you can go back and watch Mendes have Dench drop the f-bomb again and again……

The OC Film Sting Final Verdict
As expected Mendes opts for themes over action, but with some great performances from Dench and Bardem and the most impressively artistic look to a Bond film ever, this easily makes it into the list of best Bond films and a late entrant for consideration as the best movie of 2012. Rating: 8/10.